Duffy, Thomas C.

Fonder, Mark

Ithaca College Concert Band

Ithaca College Symphonic Band

Neubert, Henry G.

Zamborsky, Kevin

English

Ithaca College

Ithaca CollegeDigital Commons @ ICAll Concert & Recital Programs Concert & Recital Programs11-11-2003Concert: Ithaca College Concert Band &Symphonic BandIthaca College Concert BandIthaca College Symphonic BandMark FonderThomas C. DuffyHenry G. NeubertSee next page for additional authorsFollow this and additional works at: https://digitalcommons.ithaca.edu/music_programsPart of the Music CommonsThis Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted forinclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC.Recommended CitationIthaca College Concert Band; Ithaca College Symphonic Band; Fonder, Mark; Duffy, Thomas C.; Neubert, Henry G.; and Zamborsky,Kevin, "Concert: Ithaca College Concert Band & Symphonic Band" (2003). All Concert & Recital Programs. 2924.https://digitalcommons.ithaca.edu/music_programs/2924AuthorsIthaca College Concert Band, Ithaca College Symphonic Band, Mark Fonder, Thomas C. Duffy, Henry G.Neubert, and Kevin ZamborskyThis program is available at Digital Commons @ IC: https://digitalcommons.ithaca.edu/music_programs/2924A VETERANS' DAY SALUTE ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor Thomas C. Duffy, guest conductor and composer Early Light (1999) Gnomon {1998) Carolyn Bremer (b. 1952) Thomas C. Duffy (b. 1955) Marching Song of Democracy (1900) Percy Aldridge Grainger {1882-1961) They are There! (1942) Charles Ives (1874-1954) Arr. by James B. Sinclair Featuring Members of Ithacappella ·,Epilogue: Lest We Forget (1992) INTERMISSION Robert Jager (b. 1939) ITHACA COLLEGE SYMPHONIC BAND Henry G. Neubert, conductor Thomas C. Duffy, guest conductor Kevin Zamborsky, graduate conductor Flag of Stars (1956) Gordon Jacob (1895-1984) And Flights of Angels Sing Thee To Thy Rest (2000) Thomas C. Duffy (b. 1955) , Heroes, Lost and Fallen, (1992) : [A Vietnam Memorial] David R. Gillingham (b. 1947) Ford Hall Tuesday, November 11, 2003 8:15 p.m. About the Guest Conductor/Composer Thomas C. Duffy (born June 17, 1955) is Deputy Dean of the School of Music and the Director of Bands at Yale University. He received his Bachelor of Science in Music Education (magna cum laude) and Master of Musical Arts in Composition from the University of Connecticut, and his Doctor of Musical Arts in Composition from Cornell University, where he studied with Karel Husa and Steven Stucky. He has taught music courses at the Hartfor ) Conservatory, the University of Connecticut, the Auburn Maximum Security Correctional Facility, Cornell University, and Yale University. Recordings and performances of Mr. Duffy's music include those by college bands, orchestras, and wind ensembles throughout the world. Mr. Duffy has conducted bands and orchestras throughout the United States and Japan, England, France, Ireland, and Italy. He has served as president of the New England College Band Association, president of the CBDNA (College Band Directors National Association) Eastern Division, president of Connecticut Composers Inc., publicity co-chairman for the World Association of Symphonic Bands and Ensembles, chairman of the Connecticut Music Educators Association Professional Affairs and Government Relations Committees, and a member of American Composers Alliance, BMI, and the American Bandmasters Association. Mr. Duffy represents music education in Yale's Teacher Preparation Progr His music is published by American Composers Alliance, Ludwig Music an Bourne Company Music Publishers. In 1996, Dr. Duffy was selected as Outstanding Music Educator of the Year by the Connecticut Music Educators Association. (June 1997) Duffy's first influence, Charles Whittenberg, was hailed at one point as the primary American scion of the second Viennese School. While studying with Whittenberg, he worked in depth with serialism and the ordering of all parameters of music. Duffy attended Cornell University, attracted by Karel Husa's unique combination of the art of musical composition with themes of contemporary importance. Duffy first came into contact with Husa's quarter-tones and proportional notation as a saxophonist in the Wind Ensemble at the University of Connecticut. While at Cornell, he also studied with Steven Stucky, from whom he contracted an interest in the music of Dallapiccola, Ligeti, Reich, Glass, Xenakis, and Lutoslawski. Program Notes In 1783, Benjamin Franklin wrote, "There never was a gocxi war or a bad peace." But wars have happened and continue to happen involving the men and women of our country. The purpose of tonight's concert is to present a tribute to those who have served in our armed forces. Listeners who are expecting a one-dimensional, flag-waving, patriotic salute might be surprised to hear some music that examines war in a more reverent, less jingoistic sensibility. Music that rouses our patriotic fervor is only one way to honor our veterans. It is sincerely hoped that the music performed tonight gives pause to considering war and its participants from a 11 perspectives. The compositional material for Early Light was largely derived from "The Star-Spangled Banner" and is an optimistic homage to our national anthem. She is the first to admit that this composition has an angle beyond a patriotic tribute however. A passionate baseball fan, Bremer drew upon her feelings of happy anticipation at hearing the anthem played befor~ baseball games. The slapstick heard near the end echoes the crack of the bat en a long home run. The composer is chair of the music composition department at the University of Oklahoma having studied at the Eastman School of Music and CalArts. "Gnomon" is the Greek word for the pointer of a sundial, and the Kentucky Vietnam Veterans Memorial bears that name with good reason. Designed by Helm Roberts, the monument pays tribute to each and every Kentuckian killed in the Vietnam War. Engraved en the surface of the 215-ton granite plaza are the names of 1074 soldiers killed. Towering above the plaza is the stainless steel gnomon. On the plaza, the name of each Kentuckian is 'located such that the shadow of the gnomen touches it en the actual anniversary of his death. The names of the 20 soldiers missing in action are etched in front of the gnomon where the shadow never falls, paying special tribute and symbolizing continued vigil. Grainger's Marching Song is a sprawling tone poem that encapsulates the post-romantic expressive qualities of Mahler, Richard Strauss and Bruckner. He was inspired to write it for a chorus of whistlers and singers while attending the Paris Exhibition of 1900. He did not score it for band until 1948. A variety of artistic, philosophical, and musical sources were involved. These included the poetry of Walt Whitman, a statue of George Washington, and his first acquaintance with John Philip Sousa and his band. Perhaps to illustrate that the "march of democracy" is unending, Grainger begins his score with a unison "c" and ends with a unison, unresolving, and unrepentent "F#." While the harmonic language includes some of his densest chromaticism, it is also colored by a clashing of a style he called "free music" -- lines that soar and cross freely with little regard _ for harmonic results. Charles Ives is widely recognized as one of America's greatest composers. He was educated at Yale University and chose a professional career as an insurance executive so that he would not have to depend on public support of his advanced musical thought. They are There! reflects lves's lifelong concern for domestic and world politics. Originally written during the First World War intending it to be a rallying song for the doughboys abroad, he revised it in 1942 for the soldiers of World War IL He wrote, "this song is a rather rough and tough kind of march, especially in the accompaniment as it was started when 'knock-out blows' on the Kaiser were wanted -- and now man even worse 'Dark Age culprit" (Hitler)" Fragments of former war tunes are heard throughout including, Columbia, the Gem, John Brown's Body, Dixie, Yankee Doodle, La Marseillaise, Battle Cry of Freedom, Star-Spangled Banner and many others. The composer writes: "Epilogue: Lest We Forget is not a work of celebration. It is, rather, music to commemorate the decent people who suffered through the agony of World War II, and those who gave their lives for peace and freedom. It is not funeral music, but rather a solemn hymn to the indomitable spirit of those who were touched by tyranny, and who were able to rise above it - both in life and in death. It is these people that we remember." Robert Jager, a native of Binghamton, NY is the only three-time winner of the prestigious Ostwald Composition prize given by the American Bandmasters Association. He is Director of Composition a t Technological University and was a former staff arranger for the Armed Forces School of Music. Program notes by Mark Fonder and the composers The symphonic overture Flag of Stars, a salute to America, was commissioned by Pi Omicron Band Fraternity at the University of Kentucky. Jacob included the following program reference: "The overture was written during the end of 1953 and is intended as a gesture from an inhabitant of the Old World to those of the New. The introductory fanfare and the slow section which follows it recall the sacrifices made by your country in both world wars in the struggle with dark forces of destruction. The allegro is prompted by thoughts of the energy, vitality, and cheerfullness of the American people - young, optimistic, and full of faith in their destiny. The second subject in 3/4 time might perhaps suggest a sort of national song and right at the end there is a brief quotation from the "Star Spangled Banner". from Program Notes for Band And Flights of Angels Sing Thee to Thy Rest was written to honor the memory of Stanley D. Hettinger, Director of Bands, University of New Hampshire. The title comes from the famous lines in the Shakespeare1 tragedy, Hamlet, where Horatio, witnessing the death by poison of Hamlet, says "Now cracks a noble heart. Good night, sweet prince, and flights of angels sing thee to thy rest! Why does the drum come hither?" Stan Hettinger heard my piece, The Quiet Tear, 1983, and commented m how the ending was "weak" for a memorial piece. I have taken the bulk of that short piece and reworked it, and, in strengthening the ending, reflect the ascending trajectory of the angels that accompany that "sweet prince" to his rest. Thomas C. Duffy eroes, Lost and Fallen is a tone poem for symphonic band based en the following poem by the composer: From this grueling war. Let Suffering and Death Rule no more. Resolve this conflict In hearts so sullen And bring eternal piece To the heroes, lost and fallen. The work opens with an air of mysteriousness en a sustained sonority by bowed vibraphone with marimba tremolo. There are interspersed motives suggesting trumpet calls and quotes from the Star Spangled Banner and the Vietnamese National Anthem. This beginning section reflects the ( '1.certainty and instability before war. Following is a warm and consonant _norale in the low brass alluding to the world ideal of peace and serenity. This section segues into a sort of slow "march to war." Just as the realization of the inevitability of war increases, so does this section increase in dynamic and dissonant intensity. Climaxing the section are quotes from the Star Spangled Banner and Taps. The ensuing section expresses the war itself with driving rhythms, dense textures, chaotic accompanimental motives and sinister themes. Growing in intensity, the section culminates with haunting "trumpet calls" alternated between trumpets and horns followed by four hammered articulations of a tone cluster. A thunderous roll of drums then elides into the next section where the consonant chorale of "peace" reasserts itself, this time amidst the continuing conflict of war, suggesting that somehow "Good" will triumph over "Evil". Both the chorale and the conflicting forces fade away and a short dirge-like section follows based on the opening motive of the chorale, signifying destruction, death and aftermath. But, the everpresent force of "Good" emerges and a serene, yet powerful theme is stated, beginning in the ( Jrns. The theme grows to a glorious climax, diminishes and settles into C 1vfajor, the "key of the earth." A unison "C", with underlying tumultuous articulations by the drums, culminates the work. .. the drums reminding U5 that the threat of war will always be present. David R. Gillingham ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor Piccolo Bass Clarinet Trombone Melissa Bravo Diego Vasquez Andrea Shaut Jessica Shaw Francis Ring Cook Flute Sarah Tyler Schoe Lauren M. Avellino Alto Saxophone Emily Beth Selman Leslie Ann Brennan .J Lisa Phillips Heidi Bellinger Mary Parsnick Michael Furstoss John Henry Schlierrnacher Heather Byrne Brett Fleury Lloyd M. Duggar Megan Postoll Matt Chielli Patrick Bradley Mary Jarchow Nick H. Smarcz Rebecca Frost Tenor Saxophone Tracy Kirschner Jennifer Klauda Euphonium Rob Flack Heather Rosner Oboe Sarah Drew Julia Capurso Baritone Saxophone Tuba Luke Conklin James Maxson Emily Mure Deanna Loertscher Jessica Mower Cassie Winterhalter Susan Wheatley Bass Saxophone Timpani English Hom James Maxson Luke Conklin Alan Dust Comet/frumpet Percussion Bassoon Jesse Hazzard-Watkins Chrissa Masse Nick Kunkle Brian Ente Mandi Jacobson Calvin Rice Alyssa Cadwalader Nick Ashley Mike O'Connell Billy Chou Nikola Tamie Laurie Sklar E-Flat Clarinet Kellee Koenig Kristen Weiskotten Kristopher Williamson Matt Sprague James Ahern Clarinet Abbey Clark Rebecca Frye Bridget Colgan Kristopher Williamson Katelyn Alcorn Hom Meghan McNamara Bethanie Keem Larry Whitney Abby Church Kelly Bochynski Chelsey Hamm Jordanna Bergman Lindsey Chambers Meagan Frost Matt Beale Bill Chapin Anne Woodard ITHACA COLLEGE SYMPHONIC BAND Henry Neubert, conductor Piccolo Bassoon Trombone Sarah Kessler Jennifer Micelli Lauren Minis PJCoward Paul Barton /lute Megan Boutin ' Kim Setteducati Alto Saxophone Scott Cho Kristina Little Joe Civiletti Ryan W. Pangburn Carla Strauss Jason Bellott Mark J. Lalumia Emily Watson Jared J. Smith Ashley Taylor Nikki Barnum Matt Barry Adrienne Baker Tenor Saxophone Cass Barbour Leslie Harrison Sam Podell Jennifer Rodgers Carrie Piazza Euphonium Diana Mathis Jessica Roberto Shannon Wheel Baritone Saxophone Esther Sackett Nolan Camp Greg Lewandowski Oboe Caitlin Kopcik Becky Lord Tuba Whitney Dorman French Hom Diana Dodd Jennifer Hood Allison Perotti Timothy Then 'Ticole Zawada Meredith Moore Megan Webster Timpani English Hom GinaZurlo Valarie Vassar Whitney Dorman Rebecca Guion Percussion Clarinet Trumpet Vinnie Malafronte Caryn Poulin Kevin Byrne Ernest Backus Heidi Miller Lindsey Jessick Matt Donello Colleen White Randi Westervelt Alison Hannah Emily Evangelos Christine Gregory Jonathan D. Mack Julie Pacheco Alejandro V. Bernard- Lauren Dillon Christy Voytko Papachryssanthou Alan Dust Matt Gibson Gregory Harris Joshua Oxford Lori Bonin Cassandra Large Laurie Sklar Miranda Selover Alex Lee-Clark Meaghen Garbay Adam Richwalder Piano \1att Pearsall Michael Rostafin Esther Sackett latalie Gamble Kate Reeves ··' Vince Venitelli Bass Clarinet Jesse Kleingardner Erin Grieder 

Concert: Ithaca College Concert Band & Symphonic Band

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Concert: Ithaca College Concert Band & Symphonic Band

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